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The Reappearance of Sapphic Fragments in the Italian Renaissance

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The Reappearance of Sapphic Fragments in the Italian Renaissance Asian Journal of Language, Literature and Culture Studies 2(3): 1-10, 2019; Article no.AJL2C.51486 The Reappearance of Sapphic Fragments in the Italian Renaissance Anna Griva1* 1Schools and Courses of Humanities, Hellenic Open University, Greece. Author’s contribution The sole author designed, analysed, interpreted and prepared the manuscript. Article Information Editor(s): (1) Dr. Bayram-Jacobs, Dürdane, Department of Science Education, Radboud University, Netherlands. (2) Dr. Bakare Kazeem Kayode, Assistant Professor, Faculty of Education, Al-Medina International University, Malaysia. Reviewers: (1) M. V. Chandramathi, DPS, India. (2) Alan Garfield, University of Dubuque, USA. (3) Deepti Gupta, Panjab University, India. (4) E. Seda Koç, Namık Kemal University, Turkey. (5) Chun Yang, National Yunlin University of Science and Technology, Taiwan. Complete Peer review History: https://sdiarticle4.com/review-history/51486 Received 11 July 2019 Original Research Article Accepted 19 September 2019 Published 02 October 2019 ABSTRACT In this article the survival of the Sapphic fragments of the ancient times in Renaissance period is examined. More specifically the reappearance of the Sapphic verses is presented concerning the first publications (editio princeps) and the most widespread texts of ancient authors during West Renaissance. These texts were the primary sources, on which the later publications of the Sapphic work were based, while they also had a great influence on the reception of the ancient poet by the Renaissance writers. Keywords: Classical tradition in the Italian Renaissance; reception of Sappho; survival of the Sapphic poetry during the Renaissance. 1. INTRODUCTION Homer was ‘the poet’ [2]. Also, the Alexandrian grammarians included Sappho in the canon of In ancient times, Sappho's poetry was an object the nine lyric poets [3]. It seems, however, that of admiration, and many ancient sources refer to already in the 9th century A.D. the poems of her as the Tenth Muse [1] or ‘the poetess’, as Sappho have been disappeared: around 1550, _____________________________________________________________________________________________________ *Corresponding author: E-mail: [email protected]; Griva; AJL2C, 2(3): 1-10, 2019; Article no.AJL2C.51486 Jerome Cardan reports that Gregory of preserved in the Renaissance, also through Nazianzus had publicly destroyed Sappho's ancient sources. In particular, Ovid in Heroides, works, while at the end of the 16th century, in the fantastic letter of the poetess to Phaon Joseph Justus Scaliger claims that her poems [16], presents her to commit suicide because of were burnt in Rome and Constantinople in 1073 her love for him [17], while she mentions that she by order of Pope Gregory VII [4]. Similar had loved some women (XV, 17 and 201) [18]. information is also recorded by other writers [5]. When in the early 15th century this work became In fact, Sappho's works were probably lost since known again [19], it is considered to be a people stopped to copy them in the period that genuine Sappho's letter and influences the the parchment replaced the papyrus [6]. Until the image that scholars and artists form about her 6th century A.D. probably there are manuscripts [20]. The same image of the enamored Sappho which transfer directly the works of Sappho, but who committed suicide for Phaon is given by they seem to disappear by the end of this century Photius in his Library: the Library, which was first [7]. John Tzetzes reports that both Sappho and printed in 1601 by David Hoeschelius, influenced her work have been destroyed by the passage of the reception of Sappho, because the time [8]. However, during the Middle Ages there Renaissance scholars can find in this work are references to her poetic endowment, which information about ancient writers and their lost preserve her legend in writers such as Isidore of works. Another view of Sappho, the view of a Seville [9]. However, some of Sappho's verses sister who is worried about her brother, is met in survived in the following centuries through the Renaissance through Herodotus, whose work is references made by other writers to her in their first printed by Aldus Manutius in 1502 in Venice: works. the ancient writer refers to Sappho (II, 135) at the th point where he refers the adventure of her In the 16 century Sappho is beginning to come brother Charaxus with the courtesan Rhodopis. back to the forefront, initially through the early Plato, who is also playing a key role in shaping editions of ancient writers who make references the intellectual environment of the Italian to her verses or to her life. In 1508 Aldus Renaissance, calls Sappho beautiful (Phaed. 235 Manutius publishes Dionysius of Halicarnassus, c.) [21]. The beauty of Sappho's art is whose work De compositione verborum (XXIII) emphasized twice in Alexiad of Anna Comnena contains the Ode to Aphrodite (fr.1) [10], where (XIV, XV), a work printed in 1602 by David the author admires her for her noble style. Also, Hoeschelius, which is of great interest in the late the work On the Sublime contains the fragment Renaissance world, because it comes from a 31, where the unknown writer records that the female pen of the Middle Ages, but also in poetess knows the happenings in the frame of another medieval work, the Synopsis historion by the erotic fury (ταῖς ἐρωτικαῖς μανίαις) [11]. George Cedrenus, printed by Wilhelm Xylander Although the first printed version of this book is in 1566: the Byzantine historian calls Sappho as made in 1554 [12], already in the first half of the th the first of the Muses. Catullus (51) makes a 16 century the work is widespread in Italy poetic adaptation of the fr. 31 of Sappho, where through manuscripts copied by the humanists. In the beloved he is referring to is a Lesbian [22] 1560 Henri Estienne proceeds to the publication and his love for her is causing to him the same of nine Greek lyric poets, including Sapphic symptoms as the symptoms of Sappho in the fragments [13], while in 1566, in the second abovementioned fragment. The poems of edition of the same volume, he widens even Catullus were first published in Venice by more the corpus of the Sapphic poems, through Vindelinus de Spira in 1472 and had a significant including apart from fr.1 and fr.31 forty more impact on the Renaissance [23]. Horace [24] fragments by the ancient poetess [14]. However, calls her in his Letters (1:19, 28) mascula the fragments included in Estienne's editions th Sappho, that is to say, male Sappho, a phrase were already known in Italy since the 15 which, beside the erotic intimations, implies the century, when the Greek scholars who came art and the momentum of her verses that have from Byzantium started to copy and publish been attributed to the male writers, since as a works of writers, as well as dictionaries, that poet he admires her and is influenced by her were previously unknown in Europe. These work [25]. works included Sappho's verses. 1.1 The Image of Sappho in Renaissance In Suda [26] there is a reference to two different persons with the same name Sappho: The first is Beyond Sappho’s own work [15], there is a whole Sappho from Eressos, married to Kerkylas and literature about her life and art, which is mother of Cleïs, while the second is Sappho from 2 Griva; AJL2C, 2(3): 1-10, 2019; Article no.AJL2C.51486 Mytilene, who was playing a lyre and committed In the medieval manuscripts, Sappho is suicide by falling into the sea, because of her presented surrounded by books and musical love for Phaon. The first Sappho is an aristocratic instruments, while in an engraving of 1501, lyrical poet and the inventor of the plectrum, and decorating an early version of Ovid’s Heroides, had a shameful friendship with Atthis, Telesippa appears as a priestess making a libation over a and Megara [27]. Earlier, Aelian in his Varia sacred fire encircled by women playing music Historia (Book ΧΙΙ) also talks about two different [34]. persons, a courtesan and a poet. It seems that Aelian attempts to respond to the slanders In later years, Sappho is portrayed in the against Sappho, which already appear in the Parnassus of Raffaello in the Vatican (Stanze di years of the late antiquity: the comedians of the Raffaello, about 1511), with the nine Muses, on Middle Attic Comedy, as Amphis and Antiphanes, the mountain of Parnassus, where Apollo is the wrote works with the title Sappho, of which only leader: in Renaissance there is the belief that fragments have been survived. In these works, Sappho is the tenth Muse. It is characteristic that although we cannot have a clear knowledge of in this work the name of the poet is written on a the content, it seems that Sappho is presented papyrus which she holds in her hands, so that as a courtesan, something that does not appear there is no doubt about her identity, but also her in works of the previous years. Also, Plato the distinct position in the poetic universe is Comedian in his work Phaon, as well as other emphasized [35]. fragments of the Attic comedy [28], talk about the poet's love with Phaon [29]. The positions of the Such depictions are known in the Italian comedians seem to influence several Latin Renaissance and determine the way in which writers: for example, Tatian, one of the earliest artists and scholars receive her personality and Fathers of church in his work Oratio ad Graecos her survived works. This reception is influenced (Address to the Greeks) (33-34) presents the by the references of previous writers: already in poet as an erotomaniac and lover of women [30].
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